This is an original pencil signed woodengraving by American artist Asa Cheffetz. The subject is: Winter in Southampton, Mass, created and printed in 1949. The image measures 4 13/16X10 inches. This image appears in the Cheffetz catalog as image number 88. This image was created for Associated American Artists in New York.
Etching, Image size 17 7/8 x 29 5/8 inches, printed by Wm.Pate & Co, NY,
plate signed 1886
Lithograph, image size 14 1/2 x 10 5/8 inches, c. 1930s, edition of 34, pencil signed.
Color woodblock print C. 1886. From the series "Collection of Night Tales." Print measures 13 x 8 7/8 inches on 13 3/4 x 9 1/4 inch japanese rice paper.
Pencil and plate signed in bottom right. Plate size measures 6 3/4 x 5 3/4 inches on 11 1/2 x 9 1/4 wove type paper. Featured in Fine Prints of the Year in 1927.
This is an original pencil signed etching of New York City by American artist Karl Dehmann (1886-1974) This image is of Broadway, N.Y. created and printed circa 1928. The image measures 10 7/8X6 3/4 inches. Printed on a medium weight wove type paper with a crown watermark.
This a drypoint etching C. 1920. Plate measures 9 7/8 x 8 inches on 15 1/4 x 11 1/8 inch wove paper. Pencil signed in the lower right. A dynamic and joyful print with good use of plate toning. Warren Davis studied at the Art Students League in New York and became known for his etchings of idealized female figures, many of which were used on the covers of Vanity Fair and Life magazines. Later in his career Davis exhibited in Europe and the United States including the Pennsylvania Academy and the Salmagundi Club. This image is a great example of Davis' use of delicate lines and simple compositions to elegantly capture the beauty of the female figure.
Drypoint etching, 10 3/4 x 13 7/8 inches, pencil signed. Awarded the Kate W. Arms Memorial Prize by the Society of American Etchers in 1933. Included in the book "American Prize Prints of the 20th Century."
This 1941 etching by John Winkler measures 13 1/2 x 8 1/4 inches and is pencil signed. Winkler was originally from Austria coming to America at the age 16. After various jobs he impulsively enrolled in the San Francisco Art Institute and soon discovered his talent as an etcher. He became good friends with John Taylor Arms as well as Arthur Heintzelman. His works are found in many major museums throughout the US and Europe.
C. 1932. Initialed and dated on stone in the lower right, pencil signed in the lower right. Edition of 55. Catalog: Barker 122. Plate measures 8 3/4 x 7 1/2 on 14 x 11 1/2 inch watermarked wove type paper. The dark outline of the barn, with its modernistic texture and shadows, contrasts with the luminous winter sky. One of Barker's best prints.
This is a very rare early trial proof etching by Joseph Pennell, one of the foremost American etchers of the early 20th century. The plate size is 11 x 8 5/8 inches; the image itself measures 10 x 8 1/4 inches. It was created in 1906 and is pencil signed by both Pennell and Goulding, the printer. It is notated 'trial proof' in the lower right corner, the later published state of this image is #411 in the Wuerth catalog. As is typical of Pennell's prints, the margins are small, but adequate for proper presentation. This etching comes with original label from Frederick Keppel & Co, New York.
This is an original drypoint etching by American artist Chauncey F. Ryder. The title is: French Hill, it was created and printed in 1941 for the Albany Print Club. This one is inscribed as AP, artist's proof. The image measures 10 1/2X13 inches. Printed on a medium weight laid type paper. Hand signed and titled in pencil.
Etching and drypoint, image size 4 7/8 x 13 1/8 inches, 1912, printed on cream wove paper. Addams was born in New Jersey and attended the Drexel Institute there. He won a Philadelphia Academy Cresson Traveling Scholarship and entered Whistler’s Academy in Paris in 1899. In the 1900′s, London’s working class Italian Soho district was the subject of many artists of the day including Whistler's shop-front prints such as T.A. Nash’s Fruit Shop. The horizontal format and the density of the etching work is comparable to many of Whistler Amsterdam prints.
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